When Thai film-maker Aditya Assarat shadows his mentor, Mira Nair, on set as she directs The Namesake in Kolkata, India, he discovers some of the secrets of her lavish cinematography.
Casting sidelong glances at the situation, where such“superstitions” continuously have a realistic presence, while hovering over the progress and development like a shadow, I am feeling as if it is inevitable for me to keep searching for Aswang, in order to understand culture and society of the Philippines.
In this way, the ambiguity of the imagery is retained on the painted surface rather than being removed, and a unique atmosphere is created in which ephemerality and a sense of tension exist side by side, like shadows that encompass elements not entirely within one's perception- essential questions with regard to seeing, for example; or the limitless vastness of space and the ceaseless passage of one moment after another; or the spirituality that resides within the accumulation of time.
English
中文
عربى
Български
বাংলা
Český
Dansk
Deutsch
Ελληνικά
Español
Suomi
Français
עִברִית
हिंदी
Hrvatski
Magyar
Bahasa indonesia
Italiano
Қазақ
한국어
മലയാളം
मराठी
Bahasa malay
Nederlands
Norsk
Polski
Português
Română
Русский
Slovenský
Slovenski
Српски
Svenska
தமிழ்
తెలుగు
ไทย
Tagalog
Turkce
Українська
اردو
Tiếng việt